In the world of male playwrights, Haseena Moin made a name for herself as a versatile dramatist who knew what the viewers wanted. For 50 years, she continued to highlight social evils with her TV dramas, Radio, and Theatre plays, as well as Films; with her death an era has ended of quality dramas.
Although she was associated with teaching, she found her true calling on TV; what began as a one-off Special Eid play in 1969 went onto become a stepping stone, for a playwright who didn’t know she could create stories out of nothing. That’s why when she chose to pen an original script for TV – uncommon for playwrights in those days – she did it with ease, and the audience remembers her effort today as Kiran Kahani.
It wouldn’t be incorrect to say that the TV industry in Pakistan can be divided into two parts – pre Haseena Moin, and post Haseena Moin. Before Kiran Kahani, writers and directors at PTV usually went for scripts that were either adaptations from literature or theatre plays; afterward, they began to venture into the original ones and the credit must be given to Haseena Moin. She always went for a strong woman who was either a doctor, a businesswoman, and left her house to make a name for herself.
Who doesn’t remember Shehnaz Sheikh’s character in Tanhaiyyan who wanted to earn a lot of money so she can buy back the house her father built; Dr. Zoya in Dhoop Kinarey showed the world that in a progressive society, women can be equal to men; in Ankahi Sana Murad wanted to get a job so she could get her sick brother operated and in Kasak, Rubina Ashraf’s character chose to play someone else’s granddaughter so that the matriarch gets the calmness that eluded her.
In her classic play Ankahi, she displayed that she could create relatable characters and make the audience laugh when they interact; who can forget Salim Nasir’s Mamoon, Behroz Sabzwari’s Moby, and Jamshed Ansari’s Timmy, besides Faisal Bilal’s Jibran who was the most intelligent of them all.
One must also mention Uncle Urfi here, the first TV play in Pakistan to generate a public debate as to whether ‘Beena’ the leading lady should live or die in the end. The writer didn’t change her climax and let the main lead perish to her death, long before Shoaib Mansoor did the same with Gulsher in Alpha Bravo Charlie.
She wasn’t only limited to plays with a hint of comedy; she was equally at ease with serious plays and Aahat was one such drama. It revolved around a young couple (Sania Saeed and Salman Ahmed), and their dreams and how they survived despite having too many children too soon. It not only educated the audience about population control but also highlighted its disadvantages, making it one of the best plays of the 1990s.
During the last 20 years of her characters, she frequently worked with Producer Zulfikar Sheikh; their collaborations included TV projects such as Des Pardes, Ansoo, The Castle Aik Umeed and Sacch, her last feature film to be released in 2019. Not only did she get to work with an ensemble cast in each project, it was shot in picturesque locations of the United Kingdom, long before it was considered fashionable to go abroad with an ensemble cast.
from HUM TV – Watch Dramas Online https://ift.tt/3fgHbXN
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